- Copyright Page
- Introduction: Voice Studies Now
- What Was the Voice?
- Object, Person, Machine, or What: Practical Ontologies of Voice
- Singing High: Black Countertenors and Gendered Sound in Gospel Performance
- Medical Care of Voice Disorders
- Fluid Voices: Processes and Practices in Singing Impersonation
- This American Voice: The Odd Timbre of a New Standard in Public Radio
- The Voice of Feeling: Liberal Subjects, Music, and the Cinematic Speech
- Trans/forming White Noise: Gender, Race, and Disability in the Music of Joe Stevens
- Voice in Charismatic Leadership
- Challenging Voices: Relistening to Marshallese Histories of the Present
- Voice Dipped in Black: The Louisville Project and the Birth of Black Radical Argument in College Policy Debate
- Voiceness in Musical Instruments
- The Evolution of Voice Perception
- Acoustic Slits and Vocal Incongruences in Los Angeles Union Station
- Tuning a Throat Song in Inner Asia: On the Nature of Vocal Gifts with People’s <i>Xöömeizhi</i> of the Tyva Republic Valeriy Mongush (b. 1953)
- The Echoing Palimpsest: Singing and the Experience of Time at the Ecumenical Patriarchate of Constantinople
- Laryngeal Dynamics of <i>Taan</i> Gestures in Indian Classical Singing
- Proximity/Infinity: The Mediated Voice in Mobile Music
- When Robots Speak on Screen: Imagining the Cinemechanical Ideal
- Robot Imams!: Standardizing, Centralizing, and Debating the Voice of Islam in Millennial Turkey
- Singing and Praying among Korean Christian Converts (1896–1915): A Trans-Pacific Genealogy of the Modern Korean Voice
- Building the Broadway Voice
- Epilogue: Defining and Studying Voice across Disciplinary Boundaries
Abstract and Keywords
This chapter explores the voice as palimpsest through the experience of Stylianos Floikos, one of the few remaining cantors (or psaltes) at the Ecumenical Patriarchate of Constantinople in Istanbul, Turkey. Stylianos, like other psaltes, while interpreting melodies either from neumatic scores or from memory, creates inaudible yet profoundly affective resonance with his own previous interpretations and those of other psaltes. Through this process, both he and those listening experience the act of realizing a melody as a dialogue with past voices rendered present. This multilayered, polyphonic experience of voice forms the context through which both personal and cultural identity are apprehended and renegotiated.
Lecturer in Ethnomusicology, Department of Music, University College Cork
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